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Pagina 216
But the situation is complicated by the fact that these serial orders are not of the
concrete sounds, not of hearable notes nor ... As a geometrical structure may vary
in length while it remains the same in breadth, so sound can vary in pitch while it
...
But the situation is complicated by the fact that these serial orders are not of the
concrete sounds, not of hearable notes nor ... As a geometrical structure may vary
in length while it remains the same in breadth, so sound can vary in pitch while it
...
Pagina 217
The order is one-dimensional, to use a convenient term, and it is also not cyclical.
And no sound can be removed from this given pitch order. Nor can anything enter
this order except sounds. By virtue of being what we call a single sound, ...
The order is one-dimensional, to use a convenient term, and it is also not cyclical.
And no sound can be removed from this given pitch order. Nor can anything enter
this order except sounds. By virtue of being what we call a single sound, ...
Pagina 222
We keep "quality" as a term for the very purpose of distinguishing such aspects of
color and sound from extensional aspects whether spatial or temporal. Why, then,
are the qualitative orders any more intrinsic to sound and color than spatial or ...
We keep "quality" as a term for the very purpose of distinguishing such aspects of
color and sound from extensional aspects whether spatial or temporal. Why, then,
are the qualitative orders any more intrinsic to sound and color than spatial or ...
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Sommario
THE MEANING OF ART | 3 |
THE CREATIVE PROCESS | 23 |
EXPRESSION OF EMOTION | 50 |
Copyright | |
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Parole e frasi comuni
abstract activity Apollinian appear appreciation Aristotle artist attitude avant-garde beauty become Benedetto Croce Bernard Bosanquet called character characteristic Clive Bell color complete concept concrete consciousness contemplation criticism defined definition Dionysian Distance distinction distinguished dream effect elements embodiment emotion empathy esthetic estheticians example existence experience expression external fact feeling formal function G. E. M. Anscombe Greek human ideas imagination imitation impulse individual intuition intuitive knowledge John Hospers kind language look Ludwig Wittgenstein machine material meaning ment mind Morris Weitz nature nude object organic painting pattern perceived perception person phantasy philosophical physical picture play pleasure poem poet poetic poetry present principle produced psychological pure R. G. Collingwood reality relation rhythm Rudolf Arnheim sensation sense shape significance social sound structure style symbol taste theory things tion tragedy unity vision visual whole words world vision
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